贴图分解：轴承

Texturing Image Breakdown: Shaft/贴图分解：轴承
By Richard Tilbury
作者：Richard Tilbury
Software used使用软件:
3ds Max, Photoshop
翻译BY：yipinsucai.com

Introduction/介绍
This tutorial will provide an overview of how this scene was textured  using a combination of various metal textures and masks in conjunction  with Composite maps.
本教程将概述这个场景贴图和合成使用各种金属材质和mask复合贴图。
Although it looks as though there is an abundance of geometry, the scene  is comparatively simple and incorporates a limited number of  components. The focal point is the two ducts situated left of the  centre. The heat exhaust is identical to its counterpart barring the  small trowel shaped lip, as indeed are the two hatches in the upper  left. In fact all of the girders, cross struts, pipe work and cylinders  are instances of an original version. It is worth mapping/unwrapping any  geometry before duplicating it as the UVs are preserved in subsequent  copies, hence it need only be done once per object.
虽然它看起来好像有一个丰富的模型，其实现场是相对简单只包含有限数量的组件。焦点是位于中心的这两个管道。热排气管是相同的,除非放大缩小了尺寸,事实上是两个左上角的舱口。事实上所有的大梁,交叉结构,管道工程都是原始版本的复制品。展开贴图之前任何几何体已经展开UV了，,因此它只需要执行一次展开贴图对每个对象。
Unwrapped Geometry/展开贴图的物体
Here is an un-textured render of the scene showing just the geometry and  lighting (Fig.01). There are a couple of Omni lights that correspond to  the small lamps and glow from the heat exhaust, but the principal light  source is created by an Area Spot (see Fig.02 for settings).
这里有一个没有贴图的渲染场景，只是几何体和照明(图1)。有几个泛光灯,分别对应于小灯和辉光从热排气管理,但主要光源是一面阴影聚光灯(参阅图02的设置)。

Fig. 01

Fig. 02
As the two ducts are the focal point in the scene I opted to unwrap these in order to localise detail in specific areas.
两个管道作为场景的焦点，我选择展开这些物体的贴图为了集中精力在这特定领域的细节。
Fig.03 shows the texture assigned to the ducts, both of which have been unwrapped into the one template. Section 1 represents the interior of the right duct with section 2 being assigned to the opposite one. The worn areas to the left show the lower parts of the duct interior which are visible to the camera.
图03显示分配给管道的纹理,都已经展开成一个贴图模板。1代表管道的内部，2被分配到相反的一个。左边破旧的区域是管道内部相机不可见的部分。

Fig. 03
The areas labelled 3-4 correspond to the large curved section that runs  through the middle. The number "3” corresponds with the top of the right  curve where there is a highlight, whilst number 4 represents the left  side.
标记为3 和4的区域对应于中间大弯管道。数字3相对应的右边顶部的弯管,那里是一个高光,而数字4代表左边。
For a still such as this it is worth concentrating on those areas  visible to the camera. As a result I focused the details into the most  conspicuous areas marked by the red dots, namely the rusted sections  from various textures in the 3DTotal collection.
对于像这样的静帧值得把精力集中于这些相机可见的区域。因此我专注细节到最显眼的区域如下图标记着红点的地方,即生锈的部分用不同的纹理，我在3dtotal集合里寻找到这些贴图。
To create a highlight along the top I extracted a section from a metal  door which I color corrected to match my template, before converting it  into a Specular map (Fig.04).
创建一个沿着顶部的高光，我提取一个部分从金属门贴图上，我用颜色矫正来搭配我的模板,将它转换为一个高光贴图(图4)。

Fig. 04
The panel above the ducts with two small hatches was another area I chose to unwrap due to its proximity to the camera.
管道上面的面板和两个小舱口是另一个我选择展开贴图因为它们靠近镜头。
Fig.05 shows the template in the centre and a few of the textures used in its creation. To create the scratches I copied and pasted the white areas from the Dirt map and set the Blending mode to Difference. You may also notice I have used the same door texture from Fig.03 to create the base metal and rusted section in the lower half, which is apparent in the upper corner of the right hatch (ringed in white).
图5显示了中心的贴图和一些创建它的纹理。要创建划痕我复制并粘贴白色区域从污垢贴图上并设置混合模式为差值。您可能还注意到我用同样的门纹理从图03来创建基本金属和生锈的部分,那明显是上面右边舱口用的贴图(环绕在白色)。

Fig. 05

The rust and grime that has built up around the two hatches was  extracted from the upper right texture whilst the small holes were taken  from the Total Textures: V17 – Urban Extras DVD.
两个排气口的铁锈和污垢材质，右上方带小洞的贴图来自 Total Textures: V17 – Urban Extras DVD.
翻译BY：yipinsucai.com
Varying Coordinates and Composite Maps/vray贴图坐标和Composite贴图
If modular design forms an integral part of your scene and it is  necessary to create numerous sections of identical geometry then  creating duplicates is an obvious choice. It also makes sense to map  these before copying them; however, the drawback is that when you apply a  single texture they all look the same. One way to combat this is to  alternate the UVs of each component so that they do not reference the  same part of the texture. If you are tiling the texture, which may be  necessary to achieve the correct scale, this will not necessarily solve  the problem, however using a Composite map will help.
如果模块化设计的模型不可分割是一个整体,你的场景就需要创建许多部分相同的几何然然后复制，这是一个显而易见的选择。先做好贴图坐标在复制他们之前，然而,缺点是当你赋予一个纹理后她们看起来都差不多。一种避免这种循环的贴图效果的方法是让他们使用同一张贴图的不同的部分。如果你用的是TILE纹理,这可能需要实现正确的缩放,这并不一定会解决这个问题,但是使用一个复合贴图将有帮助。
The girders, for example, are long and thin and as these were Box mapped  it was necessary to tile the texture lengthways to avoid stretching due  to the template ratio. However this created a visible repeat and so to  alleviate the problem I used a Composite by overlaying a second texture,  but this time without any tiling.
这些大梁,例如那些是长而薄的物体使用BOX坐标系，还必须tile贴图好多次才能铺满的物体必然会产生重复的纹理效果。为了缓解这个问题我使用一个复合贴图作为第二层纹理,但没有任何tile。
Fig.06 illustrates this principal: The base texture is tiled (Layer 1)  but there is an obvious issue so a second layer is added without any  tiling (Layer 2). This is set to a suitable blending mode within the  Composite map rollout (see example layout in the Material Editor) in  order that we see both textures (Overlay in this case). As you can see  on the bottom right the result is far less problematic now. The second  texture has gone some way towards concealing the tiling issue and  created some much needed variation.
图6说明了这个:基础结构是tile的(第一层),有明显的问题,因此,用第二层来补充，没有任何tile(层2)。选择一个合适的混合模式设置(请参见示例布局在材质编辑器)以便我们同时看到纹理(在本例中用的是Overlay)。正如你可以看到在底部正确的结果是远不如现在有问题。第二个纹理已经行动起来隐瞒了tile的问题并创建了一些必需的混乱效果。

Fig. 06
Fig.07 shows the method applied within the context of our scene using one of the many girders. Layer 1 is the base texture, which is tiled by a value of 3 along the U and V axis, and you can observe the issues along the girder on the far right (1). When the second texture is applied and set to Spotlight at 34% you can see the resultant effect (2). In this instance the second texture has been tiled by a value of 2 instead of being left at the default of 1. Normally you would avoid this, but as long as there are no obvious tiling issues this is fine. The shapes of the girders permitted this deviation, but were we dealing with a large expanse this would have proved problematic.
图7显示了我们的场景使用的众多大梁中的一根的材质。第一层是基础结构,它是由一个沿着U和V轴tile3次的贴图,你可以观察到问题在右边(1),当第二个纹理应用Spotlight模式在34%你可以看到最终的效果(2)。在这个实例中纹理的层已经变为2，而不是留在默认为1。通常小场景并不在乎TILE，但是像这样的大场景（很长的场景）重复贴图看起来就严重的多了。

Fig. 07
I used this same technique on the majority of the geometry, with the exception of the aforementioned ducts and hatches, as well as the cylindrical tanks that are scattered along the right side of the shaft. I used a single texture for the tanks, but in order to avoid any obvious symmetry I rotated a couple to expose a different part of the texture (Fig.08). In order to add more variety I pasted the texture into a Composite map and then added a second texture set to Overlay, which was then assigned to a selection of the tanks (1). As illustrated by the girders in Fig.07 this helps mask any uniformity as well as adding a different tint.
我用同样的技术在大多数的几何体上,除了上述管道和出口,以及分散的右侧的圆柱形罐子。我只使用一个纹理给罐子们,但为了避免任何明显的重复我旋转了不同部分的纹理坐标(图08)。为了增加更多的变化我把贴图粘贴到一个复合的纹理映射上,然后添加第二层纹理，模式设置为叠加,然后分配给一个选择的罐子(1)。这有助于掩盖任何的重复性以及可以添加一些不同的色彩。

Fig. 08
The red and green geometry highlighted in Fig.09 show the sections that employ this technique.
红色和绿色的突出显示的部分在图09中都使用了该技术。
The final image can be seen here with additional smoke and heat waves courtesy of some post-production in Photoshop (Fig.10).
最终的图像可以看到加了额外的烟雾和热浪在Photoshop里(图10)。

Fig. 09

Fig. 10
翻译BY：yipinsucai.com